Airto Moreira, André Rass e Flora Purim em cena de "O Som Revolucionário"
Airto Moreira, André Rass e Flora Purim em cena de "O Som Revolucionário"

Exibido no mês passado na programação do 18º In-Edit Brasil, o documentário Flora & Airto – O Som Revolucionário, de Jom Tob Azulay, traz notícias acalentadoras sobre o casal musical formado desde os anos 1960 pelo catarinense Airto Moreira e pela carioca Flora Purim. Depois de décadas de trabalho no ambiente jazzístico estadunidense (e mundial), eles voltaram a morar no Brasil a partir de 2019, anunciaram retirada dos palcos em 2022 e hoje, aos 84 anos de idade, vivem no Retiro dos Artistas, no Rio de Janeiro.

Veterano diretor do antológico longa-metragem Os Doces Bárbaros (1977), que documentou em 1976 a turnê de encontro entre Caetano Veloso, Gal Costa, Gilberto Gil e Maria Bethânia, o carioca Azulay, atualmente também com 84 anos, parte para o simples e direto em O Som Revolucionário. De início, mostra cenas do casal em sua casinha no Retiro dos Artistas, num prenúncio de melancolia que será relativizado a seguir, graças à arte.

O cenário onde tudo vai ser contado, mostrado e dito não é o Retiro dos Artistas, mas um estúdio em Fortaleza, onde Flora e Airto gravam, no ano de 2024, um novo e ainda inédito trabalho. Em abril deste ano, foi lançado o álbum de inéditas Maracanós, todo em parceria de Airto com o maestro, pianista e compositor cearense Ricardo Bacelar, e participação vocal de Flora em “Voo da Tarde” – mas não é essa a gravação que o filme flagra.

A imagem fisicamente fragilizada de Airto Moreira se dissolve já nas cenas de chegada a Fortaleza, quando o percussionista se detém para tirar sons fabulosos de um cilindro metálico instalado no chão do aeroporto. Daí em diante, o filme contrastará os movimentos já limitados do artista com uma intensa vivacidade mental e musical, tanto dele como de Flora. “Se pensar, não toca. Então tem que tocar pensando, sem pensar”, ensina o mestre que tocou com nomes como Miles Davis, Hermeto Pascoal, Chick Corea, Dizzy Gillespie, Herbie Hancock, Quincy Jones, Tuca, Tina Turner, Paul Simon e Carlos Santana, entre muitos.

O que toma conta de O Som Fabuloso da chegada a Fortaleza em diante é um registro sensível e afetuoso do trabalho – e da vida – de Flora & Airto no estúdio. Ao lado do percussionista e discípulo André Rass, Airto remexe a mala, caixa de Pandora, de onde saem instrumentos de percussão de todo tipo, de brinquedos infantis e tamancos de madeira a pandeiros, caxixis e a histórica queixada de burro usada na defesa de “Disparada”, de Geraldo Vandré e Theo de Barros, no festival da canção de 1966. Enquanto passa os dedos em plena harmonia pelos instrumentos, Airto reflete belamente sobre a passagem dos anos e as limitações progressivas impostar por ela. O tempo, ao lado de Flora e Airto, é protagonista de O Som Revolucionário.

Flora se lembra da participação da dupla na trilha sonora de Apocalypse Nos (1979), ela na condição de única mulher entre 30 músicos homens, entre eles o diretor, Francis Ford Coppola. “Nós sobrevivemos”, ela relata, com olhos irônicos e travessos. Flora olha na câmera as fotos feitas em estúdio e se espanta, “eu pareço uma senhora”, para imediatamente constatar, incrédula, com ênfase no verbo: “Eu sou uma senhora”.

Airto dirige o som da cuíca, inclusive imitando na voz o instrumento brasileiríssimo. Se ele mantém o semblante grave a maior parte do tempo, o gestual de Flora traduz os não poucos momentos em que ela se mostra maravilhada diante dos sons que fluem das caixas acústicas. A música toma conta do espaço e do tempo, das alegrias e das tristezas. Os diálogos impagáveis entre Flora e Airto descortinam uma simbiose ensaiada ao longo de seis décadas de convívio.

– Oi, tá ouvindo tudo? – Airto pergunta.

– Eu tô ouvindo, você tá baixinho, mas não importa – responde Flora.

– É, não, mas eu tô falando alto.

– Não, mas você vai cantar só no coro, né? Ou vai cantar na música? Quer cantar um pedaço?

– Não, canta você. Você que é a cantora.

– Mas a música é sua, cara.

– Pois é…

Os dois cantam. Flora se mostra inquieta, talvez insegura, ao gravar sua voz. Acusa cansaço, às vezes se irrita (mansamente) com algum detalhe. Implica com uma palavra na lindíssima releitura de “Portal da Cor” (1985), de Milton Nascimento: “Não quero falar essa palavra, ‘pulsa’ é péssimo pra microfone”. “É porque a letra é do Milton…”, lembra alguém. “Mas eu tenho liberdade poética”, encerra a senhora cantora, eleita quatro vezes a melhor cantora de jazz do mundo pela revista Down Beat. “Quando estou lá quero estar aqui. Quando estou aqui quero estar lá”, filosofa Airto, noutro momento.

Airto e Flora em cena do documentário



As canções que vão desfilando na tela roçam o sublime: “Primeira Estrela”, de Airto, gravada por Flora em 2003; “Canto Latino”, “Circo Marimbondo” e “Dona Olímpia”, todas do repertório de Milton; “Aqui, Oh!” (1980), de Toninho Horta; “Esquinas” (1984), de Djavan.

Flora reluta em participar da gravação “Carinhoso” (1922), de Pixinguinha, não quer cantar a letra de Braguinha lançada por Orlando Silva em 1937. “Eu não quero que vire uma trip de ácido”, argumenta. A contragosto, acaba convencida a fazer alguns vocalises, como teste. O resultado é acachapante, um balé de improvisos vocais de Flora e de Airto, que vão se encontrar no infinito – e no verso “à procura dos seus”. Parece a trilha perfeita para encerrar um filme – e é.

Feito mais de gestos, olhares, notas musicais, percussões vocais e suspiros que de palavras propriamente ditas, o documentário de Jom Tob Azulay passa macio e vai empilhando uma tonelada de histórias lancinantes sobre ontem, hoje e amanhã. Mais que um filme, é um poema audiovisual.

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